![]() ![]() While the two singles are songs I've come to appreciate, for my money, the classics on this are riff-ripper Toughest Street In Town, the sadistically funky S&M and Got To Give It Up, the happiest ode to brutally dying of heroin ever put to vinyl. There's all sorts of brilliantly sly and wry lines peppered throughout this beauty, "With Love" probably being the most heartbreaking, if that's what you come to the Lizzy gigs for (nothing wrong with that). Black Rose is likely Phil's finest moment as a wordsmith and lyricist. Still, there is one thing DAYWT has that Boys doesn't, and that is one of the greatest lyrical performances in music: "People that despise you will analyze then criticize you, They'll scandalize and tell lies until they realize, You are someone they should have apologized to." If you listen carefully you will hear Bob Dylan chucking his motorcycle through his TV. To your average ignorant fan, they might hear the first few seconds and think all of Thin Lizzy's songs sound the same as a result. Do Anything's main riff seems to be lifting TBABIT's chorus harmony lick and Alibi seems to be borrowing Jailbreak's rhythm and bass line. The first time I heard Do Anything You Want To and Waiting For An Alibi I thought they were weak attempts to re-write The Boys Are Back In Town and Jailbreak, respectively. Though I have to say the choices for singles are slightly questionable. Hell "Out In The Fields" would have fit right in on Thunder & Lightning! Lynott and Moore made a hell of a songwriting team, and it just makes you curse Moore for not staying put with the band from the beginning (he first did session work with the band on 73's Nightlife), especially when you consider how many times they would reunite and write together. For all his iconoclastic tendencies, Moore manages to park his butt with the Lizzies not just to shred circles around everyone (Scott Gorham admitted it was impossible for him to harmonize on some of Moore's licks in the studio), but to contribute compositions as well. We could probably all do with a long, hot summer night right now, and this is a genuine feelgood song.Thin Lizzy trades Brian Robertson for Gary Moore and the result is one of the most, if not the most consistent Thin Lizzy efforts ever. He’d play you Dancing in the Moonlight on the acoustic guitar and you’d go, ‘Is that it?’ Then you’d hear the finished thing and understand what he’d been so enthusiastic about because he was hearing it as the finished thing in his head.” “Phil would spend more time on the words because he found the music not that difficult,” recalled Gary Moore.“They were very simple songs. ![]() ![]() It’s one of Lizzy’s best loved tunes, and it’s interesting to note that the parent album Bad Reputation was probably the band’s last throw of the dice, one that, finally, came good thanks to Lynott’s songwriting prowess. ![]() Gorham’s solo is well worth spending some time with too as it features many of his trademarks a lovely full tone, George Benson-style sliding octaves, that shimmering vibrato, and phrases that are the perfect accompaniment to the main melody. Peppered throughout with the saxophone of Supertramp’s John Helliwell, the rhythm guitars are restrained, clean and to the point. ![]()
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